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New Movables and Pop-ups 
from the Frankfurt Book Fair 2002 

Theo Gielen 
The Netherlands 

Late last summer, about the time I started to prepare 
for my visit to the Frankfurt Book Fair, I met a new 
collector of movable and pop-up books. With great 
enthusiasm he talked about his purchases and showed me 
books that proved to be almost exclusively what the 
experienced collector would view as very simple, hardly 
collectable books. They had simple movements usually 
produced for toddlers. Nevertheless, his pleasure in these 
books, the twinkle in his eyes when he played with them, 
and the "discoveries" he made when thinking of the 
intended the use of mechanics for the development of the 
child, made me realize how spoiled we have become by 
the wealth of the luxurious output of the last 20 years, the 
''second golden age." Apparently I have overlooked the 
functional uses of movable and pop-up mechanisms in 
children's books while focusing on the spectacular effects 
that these mechanisms can have. I am always searching 
for new techniques invented by paper engineers. So, when 
I started to study the fall production of the publishers 
listed in Bookseller, Publishers Weekly, Borsenblatt, etc, 
I saw that the enduring economic recession is still causing 
the publishers to reconsider bringing out the rather 
expensive pop-up books. As a result, I decided this year to 
be more attentive to the way mechanics have been used for 
educational purposes in books for young children. To my 
surprise, such books proved not only numerous, but also, 
in their mechanical simpleness, mostly cleverly designed, 
well-considered, innocent, and effective. They are 
educational tools with a good eye for the learning and 
motor needs of a child. 

Movable books for toddlers 

It proved remarkable how many books published for 
young children use movable and (or in combination with) 
pop-up elements for educational purposes. They are 
remarkable not only for their clever use of mechanical 
elements shown, but also for the ingenuity in the choices 
of adequate mechanics and the effectiveness of the results. 
Just a selection of this year's output will follow. 

First, of course, there are the books that help to develop 
the basic language skills, naming and relational thinking. 
My First 100 Words Book (Intervisual) with pull-tabs and 
flaps and Dora 's Book of Words / Libro de Palabras de 
Dora (Simon & Schuster, 0-689-85626-1) are good 
examples. Robert Crowther's Shapes (Candlewick and 
Walker), is a pop-up concept book with blank, shaped pages 
that transform into an explosion 
of familiar objects of the same 
shape by pulling tabs and lifting 
flaps. Another example is 
Halloween Colors: A Turn the 
Flap Book by Carla Dijs 
(Cartwheel). In Ellie & Pinky 's 
Shapes Book: A Pop-up Book 
(Intervisual) children learn to 
identify basic shapes by cute 
small pop-ups on every spread 
combined with simple math 
increasing in number as the 

child counts the number of each shape on every page. There 
are other counting books like Fun to Learn I 2 3: A 
Kaleidoscope Book (Bookmart Editions, UK) and Carla 
Dijs's Up Pop the Monsters 1-2-3 (Cartwheel), reprinted in 
an enlarged edition. The nonsense rhymes of Dr. Seuss The 
Grinch Pops Up! (Random House) plays with the sounds of 

The emotional development 
of the young child is 
strengthened by books like 
Hooper Has Lost his Owner by 
Marsha White (Little Brown, 0- 
316-06561-7), a pull-tab book 
with pop-ups that give a child 
the feeling of belonging to and 
being loved by his family. A 
child experiences feelings of 
coping with fear in these books: 
Snappy Little Monsters by 
Derek Matthews (Templar, ), Kees Moerbeek's You 
Monsters are in Charge: A Boisterous Bedtime Pop-up 
(Simon & Schuster, 0-689-84675-4), and In the Dark Dark 
Wood, with strong graphics by Jessica Souhami (Frances 
Lincoln, 0-7112-1540-5). 

Continued on page 2 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of the 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. The annual membership 
fee for the society is $20.00. For more information 
contact: Ann Montanaro, Movable Book Society, P.O. Box 
1 1654, New Brunswick, New Jersey 08906 USA. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 

e-mail: montanar^.rci. 

Fax: 732-445-5888 

The deadline for the next issue is May 15. 

Frankfurt Book Fair, continued from page I 

Developing the love for other creatures is shown in books 
like the previously mentioned Hooper Has Lost his Owner 
(Hooper is a dog). Puppy Trouble (Farrar Straus Giroux, 
0-374-34992-4) and the expanding 3-D house of Poppy 
Cat's House engineered by Jo Lodge (to be published by 

Helpful in developing 
the socialization skills of a 
child to everyday life are 
Eat Your Dinner, Please: A 
Pop-up Book (0-7944-0039- 
6, a sequel to Brush Your 
Teeth, Please) and Let's 
Get Ready for Bed (0-7944- 
0015-9) with sliding 
objects, both from Reader's 
Digest in 2003. Maureen 
Roffey's "Turnaround 
Books" Playtime and 
Partytime (Scholastic, 2003); Cressida CoweU's Super 
Sue, illustrated by Russell Ayto (Candlevvick, 2003), or 
Katie and Tom's Busy Day (Kingfisher), a pull-tab book 
by Annette Bay are other examples. 

Skills that stimulate a 
knowledge of the world in 
which the child lives are 
developed by first 
reference books like the 
"Spinwheels" books 
Junior on the Farm 
(Abrams, 0-8109-1023-3) 
and Junior in the City (0- 
8 109-3497-3) by 
Samantha Berger and 
Lisa Huberman. Other informative titles include books by 
F.dwina Lewis with illustrations by Ant Parker Who Jumps 

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(Chrysalis Children's Books, 1-85602-447-4) and Who 
Swims (1-85602-448-2); Steve Augarde's The New Yellow 
Digger (Ragged Bears, 2003) with seven interactive pop-up 
spreads; Life on Earth a pop-up book by Steven Holmes, 
paper engineered by Jonathan Lambert (Barron's, 0-7641- 
5456-7); I'm Going to a Farm and I'm Going on a Plane 
published by Bookmart with "3-D explosive pop-ups"; Giles 
Andreae, The Pop-up Commotion in the Ocean (Orchard, 1 - 
84121-738-7) with colorful pop-up illustrations of sea 
creatures by David Wojtowycz; and the nice carousel book 
by Yves Got, Sam 's Pop-up Schoolhouse (Chronicle Books, 
0-81 18-3550-2), featuring two classrooms and a playground. 

Motor development is 
aided by books with 
mechanical parts (or puzzle 
pieces) to be handled by little 
fingers. Specifically for this 
purpose is a book like Zita 
Newcome's Pop-up 
Toddlerobics (Walker Books, 
London, 2003, 0-7445-81 17- 
6) with pop-ups and pull-tabs. 
Busy Bears by Brigitte 
Pokornik, part four of a series of "Funny Fingers" from 
Abbeville Press, asks the child to place his fingers through 
the die-cut openings on each page to make the characters 
move and to bring the story to life. In the series of "Mini 
Movers" by Karen Jones from Barron's with its four titles 
Bang, Bang! Who 's There? (0-764 1-5571 -7), Knock, Knock! 
iVlio 's There? (-5569-5), Munch, Munch! Who 's There? (- 
5570-9) and Tap, Tap! Who's There? (-5568-7), kids place 
a finger into a slot cut into the illustrations and give a little 
push to pop-out the complete animal. 

A mixture of 
skills - cultural, 
literary, rhythmic, 
and motor are 
developed by books 
featuring popular 
children's rhymes 
and songs: Old 
MacDonald had a 
Farm illustrated by 
Rosayne Lizinger 
with flaps, tabs and 
pop-ups ( Mil lbrook); 
Maureen Roffey's Old Macdonald's Counting Farm, 
illustrated and paper engineered by Jo Lodge (Scholastic, 
2003); Five Little Monkeys with movable characters 
illustrated by David Mellis (Dutton); Paul Zelinsky's 
interactive adaptation of Knick-Knack Paddywhack with 
paper artwork by Andy Baron, praised at the last MBS 

Continued on page 16 

Joyce Aysta 

Ann Montanaro 

East Brunswick, New Jersey 

Joyce Aysta, the founder of Live Your Dream Designs, 
is a self-taught origami architect who makes hand-crafted, 
pop-up greeting cards. Origami architecture is the 
combination of two Japanese art forms: origami, the art of 
folding paper, and kuragami, the art of cutting paper. The 
result is a single sheet of cut and folded paper that, when 
opened, displays a three-dimensional image. 


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Prior to starting her company, Joyce worked as a 
designer for stage, screen, and television in Los Angeles, 
California. She made cards as a way to thank her friends 
and associates in the entertainment industry. Many of her 
first designs were pop-ups of film studio logos sent as 
thank you notes. The cards became popular among friends 
and colleagues, who began requesting that Joyce make 
cards for them. 

While working on an historic mini-series in 
Charleston, South Carolina, Joyce became fascinated by 
the city's intriguing mix of architecture. Due to the 
popularity of her card work, she left the entertainment 
industry in 1993 and moved to Charleston to found Live 
Your Dream Designs starting with five hand-cut designs. 
While residing in South Carolina she honed her craft and 
production skills and was nominated for the Small 
Business Person of the Year. She received an 
Entrepreneur Excellence Award for South Carolina. In 
1998 Joyce moved back to Los Angeles to continue to 
expand her business. 

Joyce's designs are created by hand. Working from 
photos or architectural plans, she draws the building on 
graph paper and then cuts it out using an Exacto knife. If 
the work is being done for a client, it is then reviewed and 
revised. The next step is to select the type and have the 
paper printed with her logo and descriptive text. While the 
paper is being printed, the drawing is scanned into the 

computer. The image is then output to a laser cutter and 
sheets are cut one-at-a-time. Only one kind of paper is used 
because it works well for both laser cuts and printing. She 
then folds and assembles each card by hand. Her cards are 
only produced in one size because the paper fits comfortably 
in her hand for folding and is the size of a standard 
envelope. The card is finished with a sheet of colored rice 
paper on the outside. 

Custom design work can be done for clients from 
photographs, plans, drawings and renderings. In order to 
accurately reflect the building, she needs to understand not 
only the picture plane view but how all the volumes and 
forms relate. Frequently she visits the site and uses a 
Polaroid camera and measurements if architectural plans are 
not available. She meets with the client to determine what 
feature to include or what particular view is important. 
Completing a design usually takes 4-6 months. Joyce accepts 
12 new custom clients annually. A minimum custom run is 
1,000 cards. Because of the initial costs involved, both in 
lime and money, it is not economical for her to do a smaller 

The laser cutting is done in her studio with a Universal 
V-class laser with an 18-inch and 24-inch cutting bed and 
dual head. The machine is intended for the engraving 
industry and is used by many trophy and award shops. It can 
engrave paper, wood, plastic, and glass but laser cutting is 
not fast. The machine can cut 150-200 pieces per day if it is 
run constantly for 8-10 hours. The paper has to be hand fed 
and the cutting bed has to be cleaned after every pass. It is 
definitely a "hand-on" process. Joyce usually folds cards 
while the laser is running but she limits herself to folding 
300-400 cards a day, three days a week. She can fold and 
package cards faster than the laser cutter can cut. As a 
result, she has purchased a second cutter. 

Joyce lives and works in an art colony called The 
Brewery near downtown Los Angeles. There are 
approximately 350 live/work art studios spread through 23 
buildings. There is an Art Walk held at The Brewery twice 
a year in April and October. Usually 100-150 studios are 
open to the public during the Art Walk weekend.. The next 
Art Walk will be April 12 and 13, 2003 and Joyce's studio 
will be open. If you would like to attend the Art Walk, 
contact Joyce in advance for a map. She will also be in the 
Philadelphia area the first week of May for the Museum 
Store Association annual meeting and would be happy to 
meet with members at that time. 

Joyce has a large number of cards available that can be 
personalized. They include a variety of themes including 
Christmas, Judaica, buildings in both southern and northern 
California, and historic US buildings. They can be ordered 
from Live Your Dream Designs, 2100 N. Main Street, 
Studio b-l, Los Angeles, California 90031. 

Paris Exhibition of "Livres Animes' 

Theo Gielen 

Livres Animes 
Deux Siecles de Livres 
a Systemes 

last summer we heard 
that the Paris antiquarian 
bookseller Jacques Desse 
was planning an exhibition 
of French movable books. 
We didn't realize that his 
plans were so well Formed 
that his exhibition would 
open in December. The 
information about it came 
too late to be included in 
the last issue of the 
Movable Stationery, but 
happily, the publicity 
manager of the exhibition 
sent email information and 
invitations in English to the members of the Movable 
Book Society. I visited the exhibition, as did several other 
European members, and had a great time. 

Although there has been a remarkable production of 
movables in France since the very beginning of the form, 
and modern publishers still produce French editions of 
lots of modern highlights, there is little interest in them 
from collectors, libraries, or museums. French members of 
the Movable Book Society are rare. A recently published 
wonderful (and voluminous) book on the golden age of 
French children's books (1840-1940) mentions just the 
bare existence ofthe category in a couple of sentences and 
one or two pictures, and reliable know ledge appears not to 
be available at the prestigious libraries or universities.' 
Nevertheless, France was the country that produced all 
kinds of (movable) novelties in the early 19th century 2 , 
brought forth probably the first real movable, pull-tab 
book J , attempted to systematically categorize the 19' h 
century production in this field 4 , and - last but not least 
and so self-evident - used the mechanics for erotic 
pictures. It is not, therefore, understandable why local 
collectors and book historians have neglected all this for 
so long. It has also been 20 years since the last exhibition 
of movables in France and focused almost exclusively on 
books with volvelles from the 16th to the 18th century).' 

But what a surprise it was to see this exhibition in 
Paris. Amidst the tourists and public surroundings ofthe 
Paris flea market of Saint Ouen (near Porte de 
Clignancourt in the north of Paris), there was as great a 
survey ofthe French movable books ofthe 19th and 20th 
century as one normally expects to find in a museum or a 
prestigious library. An consistent line of publicity started 
outside ofthe antiques center Marehe Dauphine where 
Jacques Desse has his bookshop. 1 high streamers included 
the logo - a Victorian bo> on a swing, taken from one of 

the movable books on display: Le petit taquin (ca.1890) - 
and the title ofthe exhibition guided the visitor. The central 
place of the antique center had a life-size movable 
reconstruction of this logo with an inviting "push me" 
(bought on the very first day of the exhibition by an 
American entrepreneur). All of the Christmas greens 
decorating the center had a cut-out of this same swinging 
boy, as well, the antique shops and the antiquarian 
booksellers of the center offered an invitation to the 
exhibition that doubled as this year's card with seasonal 
greetings. Lots of posters led visitors to the special 
exhibition room on the first ring ofthe antique center. With 
this exhibition the center celebrated its lO" 1 anniversary and 
generous advertising provided by the public relations 
manager made it clear the exhibit was something special. At 
the very end ofthe exhibition room there waslO foot high 
scaffolding, like that found in a storehouse, on which we 
recognized from afar the large, contemporary, spectacular 
books with the characteristic pop-up spreads (Van der Meer 
packs, big doll's house carousels, Kondeatis' Ark of Noah, 

The room was furnished with over 20 modern showcases 
filled with movable gems as well as some antique (of course) 
chairs and tables. The room was also filled with lots of light 
to see everything well. A nice, friendly young lady welcomed 
me at the reception where catalogs, postcards, posters, copies 
of modern pop-up books, and some reference books 
(Haining, the Salzburg catalog) were on sale. The proud Mr. 
Desse was very communicative and was almost permanently 
available in the room for information. He told me that he 
bought this collection of over 600 items - for the greater part 
historical - within some three or tour years, without buying 
any collection but just from the (national) open market. This 
alone was an achievement, but my appreciation for what he 
had done grew as I walked around and saw what he had 
purchased! To complete the survey there were loans from the 
collections of private collectors, colleague booksellers, and 
the well-known Paris library of historical children's books 
the Bibliotheque de 'Heure Joyeuse. A special attraction of 
the exhibition, of course, was that the most items in Ihe 
collection could be purchased! Whereas at a "normal" book 
exhibition the visitor can only act greedy, here one's greed 
was satisfied at once by only pointing to the desired object 
and (when the price seemed affordable) saying: "Please, will 
do me that one..." Great, but 1 can assure you, it only made 
one more greedy! 

Since the exhibition opened on December 21, the first 
showcase, offered a selection of Christmas items ranging 
from l.a Suit de Noel, the French edition of Schreiber's Die 
Krippe ( 1 888), through the 1 952 carousel The Birth of Jesus 
publ ished by Folding Books and Kubasta's Father t 'hristmas 
from the early 1960s, to some recent, elaborate manger 
scenes packaged by Intervisual and Van der Meer. Page 1 1 

My Three Favorites 

Carolyn Lilly 

San Diego, California 

As Henk Sikkema wrote in his very interesting and 
enjoyable article on this topic, this is indeed a difficult 
endeavor, as 1 am also in love with all of my books. Every 
time I attempt to come up with some criteria to make a 
judgement. I find that there are always additional features 
that make each and every book very special and delightful. 
The designers and illustrators are so very talented; I am 
left in awe! 

As I must identify only 
three books, I have decided 
to make my decision based 
on those books which I 
show to visitors when 
presenting my collection. 
As these friends usually 
are not collectors and do 
not know about these 
wonderful books, I usually 
start with a very short 
history about the 
beginnings of movable 
books and proceed to the 
present. Therefore I will 
identify my first "favorite 
book" as being The Genius 
ofLothar Meggendorfer. This book portrays not only the 
cleverness of this pioneer designer, but also exemplifies 
the fun and joy ("entertainment was his goal") that this 
and his other movable books provide. Also in this category 
are Ernest Nister's wonderful nostalgic books as Peeps 
Into Fairy Land with its Victorian fantasies, and Franz 
Bonn's The Children 's Theatre with its multi-level stage 
scenes. And later, books by the American book 
designer/illustrator, Julian Wehr — with his delightful 
animations in Alice in Wonderland and Toyland, and by 
the marvelous Czechoslovakian designer Voitech Kubasta 
with his truly awesome panoramas in The Tournament and 
How Columbus Discovered America. 

My second book of choice is Explore a Tropical Rain 
Forest — with its glorious three-dimensional multi-level 
scenes of forest plants and animals! I feel like I am 
personally there in all its wonder! This is but one book in 
this outstanding book series published by The National 
Geographic Society in the late 1980s and early 1990s. 
Amazing Monkeys is another of my favorites with its fun- 
loving spider monkeys scene. These National Geographic 
Action Books represent the period's emphasis on 
"•informational books" as shown by the wonderful books: 
The Human Body — the era's exceptional three- 

1 he Genius of 
Lothar Meggendorfer 

Explore a Tropical 

book with its 
look into 
workings of our 
bodies, Inside 
the Personal 
offering a look at 
early PCs with 
its insertable 
floppy disk (a 
personal favorite 
due to my career 
in computer 
technology), The 
Ultimate Bug 
Book with its dazzling details of the world of insects, Sailing 
Ships with its fabulous Windjammer billowing in the wind. 
Universe with its clever informational presentation, The 
Working Camera with its clever design explaining the 
complexities of photography, Bible Stories with its large 
intricate Red Sea crossing scene, etc. Another type of book 
which is very popular to my visitors are those books which 
represent current events, such as The Royal Family Pop-up 
Book with a sentimental look at happier times, The Beetles 
Musical Pop-up with its energetic and colorful scenes with 
music, and the unforgettable The Phantom of the Opera with 
its sensational scenes with music and lights. 

My third choice for favorites is The 12 Days ofChristmas 
by Robert Sabuda. This book, in my opinion, represents the 
creation of a movable book which celebrates the fine art of 
paper engineering design, rather than a book that uses 
movable elements to enhance a story or provide instruction. 
That this "art book" or "coffee table book" was such a 
success shows the evolution of paper engineering to its 
present stage of customer appreciation. Mr. Sabuda' s other 
books, The Wonderful Wizard of Oz and The Night Before 
Christmas, also exemplify his extraordinary design talent. 

There are so many other 
books that I treasure, I have 
only mentioned some of the 
many highlights of these 
wonderful movable books. 
And 1 continue to be 
surprised and amazed at the 
new ideas and design 
presented in today's books. 
Isn't it great to know that 
there will be even more of 
these fabulous books to 
enjoy and cherish in the 

The 1 2 Days 

Roly Poly Books 

Kees Moerbeek 
The Netherlands 

"We live in the expectation of the "better.' At the same 
time with regret to the past. The present is the way to the 
goal. That's why most people at the end of their life, when 
they're looking hack, discover that they have lived all the 
time 'ad interim' and they will see that all they've 
carelessly and without joy let pass was their life. That was 
the exact thing they have been waiting for their entire life. 
As a rule this counts for mankind: fooled by hope he 
dances the Death into its arms ..." 

Arthur Schopenhauer, the German philosopher, wrote 
this is in 185 I (Purergct unci Pciralipomena) and 1 read it 
in 1979. By that time 1 was studying at the art school in 
Arnhem (the Netherlands) and desperately trying to find 
a solution for one of those hazily-defined art school 
assignments "to create a visually exciting three- 
dimensional paper-object." 

I tried to visualize the above mentioned quote and 
designed a little cubic box that could be opened along the 
diagonal. Inside this box was another box and inside that 
box another one and inside that one another one ... and so 
on till you ended up with nothing but a row of teeth- 
shapes (^diagonal box halves). There was no surprise nor 
reward at the end, just as Schopenhauer predicted. What 
was left was a "destroyed" illusion: we were fooled by 

I called this design "Schopenhauer's Box." Obviously 
the whole concept was too pessimistic to digest for many 
people. Nobody fell really happy ending up with nothing 
and for that reason the little box gathered dust on my 

In 1 999 (20 years after the original design) I picked up 
the concept again and added tiny dimensional scenes to all 
boxes and (even!) a surprise box at the very end. I showed 
it to Michael Twinn (Child's Play) and he was really 
excited about it. He came up with a new name for this box 
and Roly Poly was born. 

I've always considered these kinds of additions as 
major concessions. However I learned that life is all based 
on concessions. After 1 5 years working as a book designer 
I still have great difficulties with editor's comments and 
additions in general. I find it very hard to understand their 
motivations, which mostly have a commercial base. In my 
opinion money and creativity make a bad marriage. But 
marriage, in this case, is inevitable: without this 
combination books wouldn't exist. 

Child's Play suggested using nursery rhymes as a subject 
for the Roly Poly boxes. As a Dutchman 1 wasn't very 
familiar with the English nursery rhymes. But when I read 
Humpty Dumpty I knew this was perfectly suited for this 
concept and not so far away from the original idea: Humpty 
is introduced as fairly happy (sits on a wall), falls down for 
no specific reason and nobody can put him back again. 

At first sight this little verse was the perfect visualization 
of the senselessness to me. (Why was he on that wall, what 
made him fall and why did he climb a wall in the first place 
knowing he was so breakable? In his place I would have 
stayed in bed and had a long life. But I realized "Humpty 
Dumpty stayed his entire life in bed and at the age of 94 he 
was dead" doesn't make a very strong story. Obviously he 
climbed that wall to teach us a lesson and that in itself 
makes sense of this verse.) 

In all my books I tried to follow that same line. I don't 
like happy endings. I feel that a happy end destroys the 
foregoing. As a child I loved to read fairytales, especially the 
ones with wicked witches and evil creatures. I enjoyed 
tremendously the introduction of the characters (as a king of 
built-up suspense), the adventure and the solution. But I 
always hated the last sentence, "they lived happily ever 
after." I knew these awful words were coming, but every 
time 1 experienced them as great deception. Once those 
people had an exciting life, full of adventure, they met with 
witches, wolves, or even the devil himself, they came into 
serious trouble, almost died, but by using their brains or 
having confidence they survived and when everything was 
over their lives became boring and there was nothing 
interesting left to report. 

As a child I thought that happiness and boredom were 
one and the same thing. Later on literature and love came 
along and changed my vision (almost) completely. 

Reprinted from Children's Book News, summer, 2000, 
with permission from the author. 

Dirk Dupre (1965) 

Nickoly Nemzer (1958) 

Like several paper engineers before him, Nickoly 
Nemzer graduated (in 1985) as an architect from the 
Moscow Institute of Architecture. During his studies there 
he had to make paper models and 3-D volume forms. 
After working for four years as an architect, the building 
business dropped off under the influence of Perestrojka, 
the fall of the Berlin Wall and subsequent political 
developments in Eastern Europe. He then trained himself 
in computer programs like Adobe Photoshop, Illustrator, 
and QuarkXPress to qualify for other work. From 1992 
until 1998 he worked as a graphic design artist. Since 
1999 he has been a paper engineer modeling all kinds of 
more or less luxurious industrial packagings for 
companies selling alcoholic drinks, cosmetics (Procter & 
Gamble), etc. He has also made points-of-sale products 
for Pepsi Cola, modeled in cardboard. The picture above 
shows one of them: a cardboard packaging representing 
the Kremlin Tower, hiding a bottle of champagne and 
three (!) kilos of sweets, the New Year's gift for the 
members of the Russian parliament. 

Starting in the 1980s with a paper-engineered 
"Transformer" changing from an airplane into a robot, in 
the 1990s he developed a series of sculptured paper 
moving toys, such as a very funny hippopotamus whose 
mouth comically opens and closes when the model runs on 
the table. 

When visiting the Bologna Children's Book Fair, the 
British publisher Child's Play asked him to do his first 
title, the large volume Dragonfly (0-85953-847-8) 
illustrated by his wife Elena Glazunova and published in 
200 1 in their series "Metamorphoses" series. 

Nickoly Nemzer lives with his wife in Moscow. For 
more information about his life and work see his website: 

The Belgian artist Dirk Dupre graduated in 1988 as a 
commercial artist from the Hoger Instituut voor Beeldende 
Kunsten Sint Lucas (Academy Saint Lucas for Performing 
Arts) in Ghent, Belgium. He works as a freelance "rougher" 
in the advertising business, doing the rough sketches from 
which a customer chooses an advertising campaign. He is 
also a part-time art-master about ten hours a week at a 

Having done a series of board books for his publisher 
C4Ci he was asked to deliver some innovative ideas for 
additional children's books. Intrigued by pop-up books, he 
designed the Pop Up Egg Delivery Service that most likely 
will be published in 2003. He had experimented with three- 
dimensional designs but was surprised at fairs when he saw 
that similar designs were being done at the very same time 
by people from the other side of the world. An earlier 
Halloween pop-up book, for example, appeared to be almost 
identical with one of the Harry Potter pop-ups that was 
published just as he finished his dummy. 

As a self-taught paper engineer he profits from his ability 
to think three-dimensional ly and to translate the ideas into 
mathematical systems. Recently he published a model kit of 
a 17th century Dutch ship, the Batavia, and sold most of the 
copies to the wharf in Holland where a replica of this ship is 
under construction. Since he is too busy with (more) 
commercial activities in the advertising business, he is not 
sure when there will be an other pop-up product. 

Dirk Dupre lives in St. Laureins, Belgium. His website: 

Pop-up Exhibits 


"Libros Desplegables: Coleccion de Ana Maria Ortega 
Palacios" is an exhibit of pop-up books on display in 
Palencia, Spain until March 2 1 , 2003. Ana Maria and her 
husband have collected pop-ups for 15 years. An 
interesting full-color, 10 page catalog was published to 
accompany the catalog. While not a movable book, the 
reader must rotate the catalog to read the pages since the 
text is printed in a very untraditional manner. For more 
information contact Ana Maria at 




Betty Ann Tragan/.a 

Monterey, California 

Over 1 00 books from the 
collection of Betty Ann 
Traganza are being shown 
at the Monterey Peninsula 
Airport Terminal Galleries 
in Monterey, California 
through May 30, 2003. The 
exhibition is presented in 
subject areas and, in 
addition to the books, 
includes Robert Sabuda's 
film "Popping up in 

Ecuador" and a short 
feature film of pop-up 
books in motion presented through the courtesy of Waldo 
Hunt. Visit online at www. 

San Bernardino, California 

It is dedicated to 
Movable Book 
Society member 
Linda Herman, 
founding librarian of 
Pollak Library 
Special Collections. 

side-by-side are 
books, paper 
sculpture, and 
artifacts from the 
libraries special collections, an interesting mix of paper 
objects showing a wide range of artistic applications. 

A 514 x 8! 4-inch pop-up invitation card announced the 
exhibition and the contributors. For gallery information call 

Curator Veronica Chiang 
and Linda Herman 

Paper Art & Engineering at Cal State Fullerton 

Pop-up books from the children's literature collection 
in the Pfau Library at California Slate University San 
Bernardino were on display in the library from January 
13-February 28, 2003. The exhibit was designed to appeal 
to undergraduates and to publicize a sub-collection of the 
library and about 30 books were shown in six glass cases. 

Fullerton, California 

"Trans-Form: Paper Art & Paper Engineering" is an 
exhibition of pop-up and movable books, organic paper 
sculptures, origami sculpture, artists" books, and silhouette 
art on display through March 30, 2003 at Pollak Library, 
Cal State Fullerton. [he exhibition celebrates paper , "a 
sensuous and hospitable art medium, a nature's gift with 
unlimited transformations for functional and decorative 
use. a material indispensable in our dail\ life." 

New Hampshire 

I he Sharon Arts Center in Peterborough and Sharon. 
New Hampshire is sponsoring an exhibit entitled "Pop-ups: 
Art of the Paper Engineer" from May 15 to July 6, 2003. Its 
opening will coincide with Peterborough's annual Children 
in the Arts Festival on May 16th. The exhibit will feature 
mock-ups and samples of pop-ups from paper engineers 
David Carter, Bruce Foster, and Robert Sabuda. To put 
contemporary pop-ups in context, a small group of older 
books from Ann Montanaro's collection will also be 
included. The Sharon Arts Center is a nonprofit art 
organization founded in I°47. It includes three exhibit 
galleries, a school of arts and crafts, and a retail fine crafts 
store. For more information see their web site 

Van Siingelandt Pop-up by Kees Mocrbeck 

Theo Gielen 

On October 31, 2002 about 50 guests gathered in the 
in the Dutch theater museum Theater Instituut Nederland 
in Amsterdam to enjoy a performance of the chamber 
theater of Baron van Siingelandt. That was six times as 
many guests as were invited in the I8' h century. This 
august assemblage was privileged to attend the official 
presentation of this unique chamber theater and to see it 
after a two year restoration again presented in its full 
moving glory. Other visitors will have to be content to see 
its movements by viewing a replica that was presented on 
the same day. By the kind invitation of paper engineer 
Kees Moerbeek, a select group of pop-up lovers had the 
opportunity to be among the privileged guests. Mr. 
Moerbeek's role with this museum piece will be explained 
later; first let us tell something about the theater, its 
uniqueness, and its relationship with movables and pop- 
ups - so far as there is any. 

The Chamber Theater of Baron van Siingelandt 

One of the luxuries that some rich and famous people 
of the 1 8" 1 century permitted themselves was to have their 
own theater at home. A proscenium arch of about two feet 
high and three feet wide was built in the wall of a 
drawing-room or study and the stage extended into the 
next room. From the other room the "performance" on the 
stage was prepared and stored, as well as the 
accompanying machinery used for the popular special 
effects. When not in use, the opening was closed by a 
decorative screening curtain. 

It was not a plaything for children; it was a serious - 
and expensive - pastime for adult art-lovers with a special 
interest in the theatrical. A chamber theater was not meant 
to be used to perform plays but rather it was designed to 
show different theatrical sets. We have to think of it as a 
showplace for samples of paintings, more specifically the 
three-dimensional paintings with illusive perspectives as 
painted by well-known artists. From theater history is 
known that in the 1 8 ltl and the greater part of the 1 9 th 
century the audience had the opportunity to enjoy the 
scenery for some time before a performance began and to 
express their appreciation by applauding it. The same 
thing happened with each change of scene. We still see 
that happen sometimes nowadays when the curtain raises 
for musicals with spectacular scenery! 

The chamber theater so separated the scenery from the 
performance that was meant to be done within it, asking 
full attention for the artistic qualities of the scenery itself. 
A performance ofthree-dimensional paintings, "tableaux" 
of a suggested great depth, that moved both by the 
changes as staged by the play writer and by the 

/■#?■ ', 

The Winter Wood 

use of all kinds of stage machines to cause the special effects 
popular at the time. 

This kind of theater stands in the tradition of 
(perspective) optical illusions as we also find in the 
peepshows and raree-shows that flourished in the same 
century. There is an obvious resemblance, too, with the 
(much smaller) sets of engraved paper toys as produced by 
Martin Engelbrecht from Augsburg, Germany in the middle 
of the century and meant to be placed one behind the other 
to give the same stage effect. And, indeed, the paper 
peepshows of the first half of the 19th century are based on 
the same pleasure of the suggested perspective when peeping 
through the hole. Surely also the dioramic "boxes" in 
panoramic books of the 1 880s like Isabella Braun's Neuestes 
Theaterbilderbuch, the anonymously published Theatre 
Picture-Book or McLoughlin's Little Showman 's Series had 
their origins in this kind of theatrical view. 

Effectively the chamber theater can (has to?) be seen as 
a link in the (pre-)history of the movable and three- 
dimensional books since it added movement to the static 
dioramic views of the (Engelbrecht- )peepshows by its scene 
changes, stage mechanisms as descending clouds (to bring 
the known "deus ex machina"). waving waters, storming 
seas, spouting fountains or the use of transparent backdrops 
for further illusions as fires, volcanos, etc. All techniques 
that appear dozens of years later in our beloved movable 
books! Of course, chamber theaters were also the precursor 
of the toy theater for children developed from the 1810s 
onwards - although not yet mentioned in the authoritative 
histories of these paper toys as written by George Speaight 
or Peter Baldwin. 

The only existing chamber theater of the 18th century is 
the one that has now been restored and presented as a 
glorious piece in the permanent exhibition of the Amsterdam 
Theatre Museum. It was commissioned in 1781 b\ 
Hieronymus baron van Siingelandt (1762-1830), a 
descendant of a rich and noble family that had held high 
positions for generations in Dutch cities such as The Hague 
and Amsterdam. In 1 780, when he was only 1 8, he was onl\ 

The Modern Room 

18, to the prestigious position of secretary of the city of 
Amsterdam, a position his father had held before him. The 
baron had a special interest in arts in general and the 
theater in particular. 

The chamber theater was delivered in 1781 with four 
scenes, painted by Pieter Barbiers Pzn (1749-1842), a 
well-known Dutch painter of landscapes, wallpaper and 
theater scenes. A year later two other scenes were 
d and in 1784 
another two. 
They were all 
done after the 
fashion and 
in the artistic 
style typical 
of the 18th 
century (with 
symmetry and 
a perspective 
point exactly 

in the middle). They show rather formal interiors, pastoral 
scenes, an Italian street reminiscent of a "grand tour," etc. 
All eight set scenes are still with the theater. What is 
exceptional about the Van Slingelandt theater is that it 
was fitted with a wooden mechanism that enabled an 
ingenious change of the scenery by only one hand through 
the clever use of cylinders, strings and counterweights. 
Though the mechanism and the painted set scenes are not 
exact replicas of those used in the real playhouses of the 
time, they do explain a lot of the way theater performances 
could be seen on the stages of the 18th century. This is 
important since no theater in the world preserved their 
theater mechanics or set scenes. 

When the son of the first owner, llieronymus Nicolas 
baron van Slingelandt (1787-1844). inherited the theater 
in about 1813, he continued to show performances by- 
invitation to small groups (an average of eight people) of 
family and friends, or sometimes VIP's from the world of 
the theater. He also "modernized" his chamber theater by 
commissioning additional set scenes from his friend 
Francois Joseph Pfeiffer (1778-1835), the highly 
successful painter of the scenes in the city's playhouse. 
From five of the sets Pfeiffer painted for the pla\ house he 
painted miniature versions for Van Slingelandt's chamber 
theater between 1823 and 1825; finally in 1831 he did a 
scene showing Vesuvius, with a transparent backdrop 
enabling the suggestion of an eruption. Pfeiffer also did 
the painted figures and furniture to complete both the 1 8th 
century sets and the newly acquired sets. The Pfeiffer sets 
are done in the then modern style of Romanticism, 
without the severe symmetry and the vanishing point in 

the middle that characterized the earlier ones. They were 
very different in atmosphere and composition, offering a 
more spacious suggestion and strong accents of light and 
dark and with pictures that show more "movement." 

A performance of the chamber theater based on written 
memories from the time - was made up of viewing the first 
scene as prepared to stand ready before the curtain was 
raised, wondering, admiring, or discussing the work of the 
painter and the resultant effect, eventually followed by the 
execution of some special effects. Then the scene was 
changed with the curtain open. The wings on the left and 
the right moved sideways from the stage, the "friezes" 
(strips hanging transversely above the stage) and the 
backdrop raised while at the same time the wings, friezes 
and backdrop of the second set moved in and came down. It 
was a rather spectacular happening highly acclaimed by the 
puzzled audience - and it still is, as the modern audience 

A break was needed to prepare, behind closed curtain, 

the presentation of another two sets, since a complete 

performance consisted of showing four sets in an evening. 

The last recorded performance with the theater was in 

February, 1843, but the theater stayed in the family until 

1962 when it was acquired by the Amsterdam Theatre 

Museum along with the related family documents, drawings, 

sketches, invitations, etc. 

Kees Moerbeek's Pop-up of the Van Slingelandt Theatre 

The full restoration and placing of the theater in the 
permanent exhibition of the museum led to the publication 
of a book that extensively documents the history of this 
unique chamber theater, its 14 working scenes, accessories, 
participating artists, and its owners since 1781. It is a great 
volume with text in both Dutch and English (in red print). 
The book is well illustrated in color and bound in a stylish 
dark-red velvet binding with a cut-out in the front cover 
revealing the opening of the theater. As an extra there is a 
22 x 23 cm. pop-up pasted inside of the back cover, 
designed, illustrated and paper engineered by Kees 
Moerbeek. When the pop-up is flat, the short descriptive text 
(in Dutch and English) is visible along with an ornamental 
picture with a formalized lyre. When lifted by means of a 
tab, this illustration becomes the upper part of the decoration 
that crowns the theater opening on the original wall of 
Baron van Slingelandt's study as designed and painted by 
Francois Pfeiffer in 1830. The standing dioramic box is a 
paper replica of the Van Slingelandt theater with the 
rounded proscenium arch decorated in Regency style. The 
stage shows the highly romantic view of The Winter Wood, 
designed and painted by Pfeiffer in 1 824, with capricious old 
trees covered with snow and a vista of the gate of an old 
Dutch town. In the woods there are a few figures (in the 
original chamber theater they were freestanding) and in one 


we think we recognize the picture of the paper engineer. .. 
a private gimmick? The depth of the woods is suggested 
by the three rows of trees in the wings, one behind the 
other, on the left and the right, and by the use of dark 
colors for the woods and a brightening at the town gate in 
the rear. 

At the right side of the "box" there is a large tab and, 
with a pull, the complete floor of the stage moves to 
change the scenery on the stage into the strict symmetrical 
scene of The Modern Room, designed and painted in 1781 
by Pieter Barbiers Pzn. The formal room in 18 th century 
style suggests depth again by the use of the identical three 
rows of light colored wings and by a high window exactly 
in the middle of the "'backdrop." 

Mr. Moerbeek has used this pop-up to demonstrate 
through a paper model the working of the Van Slingelandt 
chamber theater more clearly than it could be explained in 
words. He used an innovative paper construction that I 
hadn't seen before but it will surely be copied in the future 
for other pop-up books with a built-in theater, as the scene 
easily transforms from one into the other and back again. 
Cut-outs in the floor enable the standing paper parts to 
slide easily. The only difference with the original wooden 
construction is the speed of change: where as the original 
theater moved rather slowly (caused, of course, by its 
antique weakness), the paper model changes at the 
twinkling of an eye. How he succeeded in making the 
paper slide that easily is a mystery to me (the mechanism 
even works when the pop-up is closed - and with the same 
speed - as I found out). By the use of one set scene from 
the 18 th century and one from the 19 th century the model 
also documents the change of the formal character of the 
earlier period into the romantic atmosphere of the later, 
and includes, in this way a part of the history of this 
particular chamber theater. 

The space on the paper in front of the standing 
diorama was filled by two ornamental angels or muses 
balancing on balls (globes?) as originally decorated the 
wall where the chamber theater was built. It frames a 
blank square that can be used for a written greeting. The 
paste-in pop-up is also available as a card with envelope. 
It is a great concept indeed and a very nice novelty from 
the engineering works of Kees Moerbeek! 

Tuja van den Berg, Playhouse at Home. The Chamber 
Theatre of Baron van Slingelandt. With a pop-up by Kees 
Moerbeek. Amsterdam, Theater Instituut Nederland, 
2002. ISBN 90-70892-65-0. Price: 25.00 Euro (about 
$27.50). Available directly from the Theater Institute of 
the Netherlands, Prinsengracht 168, 1016 BP Amsterdam. 
E-mail address: infr/fZ) The pop-up card costs 15.00 
Euro (about $16.50) and credit cards are accepted. For 
more information see 

Paris exhibit, continued from page 4 

Additional popular three-dimensional ephemera like 
(German) paper-cribs, lacy fold-out French valentines and 
(movable) postcards with crib-scenes completed the seasonal 

Les debuts 

The next six showcases offered a wealth of historical 
dainty bits for any pop-up gourmet. Though the exhibition 
was modestly announced as a survey of two centuries (19th 
and 20th) of movable books, there were some very early 
precursors as well: the usual Apian popped up in an unusual 
edition with both his main works in one volume: the 
Cosmographia (1524) and the Astronomicum Caesareum 
( 1 540). A French touch was given by the rare Paris edition 
of Joannis de Sacrobosco's cosmographic manual Sphaera... 
(1545) with two of three volvelles still uncut and 
unmounted, and by one of the latest editions of the peculiar 
novelty La Confession coupee, ou la methode facile pour se 
preparer sur Confession (1751). The latter has pages that 
enumerate all kinds of possible sins that have been cut into 
small strips, enabling the confessor to mix and match his 
private list of sins to be confessed. The book, first published 
in 1677, had a long life and gives a nice look at what had 
been considered the most reoccurring (French?) sins of the 
time, for example: "I have beaten up my wife exceptionally." 
A great ephemeral item from the 1 8th century, precursor of 
the later peepshows and toy theater, was the series of 
sections picturing the Spanish riding-school in Vienna, to be 
regarded in a raree-show and published by Martin 
Engelbrecht in Augsburg about 1750. 

The first half 
of the 1 9th 
century was well 
represented with 
examples of 
almost all kinds 
of movables and 
novelties. This is 
just a handful of 
some 20 items: 
several very rare movable cards from the Regency period 
( 1 8 10s) from Germany, Switzerland and (never seen before) 
France; two French editions of paper doll books published by 
Fuller in London: Phebe ou la piete filiate (1817) and La 
petite Helene ou I 'enfant gate et corrige (181 8); a second 
edition of Imbert's The American Toilet ( 1 825); an example 
of Charles Letaille's original French books with detachable 
pictures, Aventures de Robinson Crusoe (ca 1 835)°; an early 
French blow-book, Livre magique tombe de la lune ( 1 853): 
and some of the most representative peepshows: Telescopic 
Hew of the Great Exhibition ( 1 85 1 ) and 77;<.- Thames Tunnel 

(ca 1850). Unfortunately, none of the French productions 
were available. There was also a series of at least 13 
(numbered) Optiques in the 1830s and 12 Dioramas 
published by Haguenthal in Pont-a-Mousson in the 1850s. 

And, as said, some French erotic movables: a rare 
hand-colored movable pen-drawing from about 1800, 
w ithout a title but obviously shows a woman positioned on 
a bed with her lover - "aux genereux attributs" as the text 
card read - making love to her and moving appropriately. 
There were also some (loose) pages from the well-known 
Portes et Fenetres (Doors and Windows), an erotic classic 
invented by Ch. Philipon and published in Paris about 
1 830, showing (mostly) servants peeping through keyholes 
or windows that can be opened (lift-the-flaps) to reveal 
what is happening behind them. Sometimes they also have 
pull tabs. 7 

La grande epoque 

The Golden Age of movables in the second half of the 
19th century was shown here for the first time in its full 
French manifestation. Shown with some 50 (!) items were 
all the names known from of that period popped up in 
their French disguises. They were augmented with some 
original French movable productions and novelties. The 
French publishers involved in the production (or 
sometimes only the distribution) of movable books in the 
period were covered in separate chapters in the catalog: 
Guerin-Muller, A. Capendu, August in Legrand, Louis 
Westhausser and Robert Guignard. An early Dean 's New 
Scenic Book from the 1 860s was recognized in Voyages et 
Aventures de Robinson Crusoe, shown along with an 
original English Cinderella from the same series. One of 
Dean's books with a molded head attached on the inside 
of the back cover and peeping through a hole in all 
preceding pages (and front cover) was presented both in 
its French and Dutch versions from 1865: Madame Jovial 
qui toujows chante gai Larirette, gai Larira! and Het 

Olijk oud Wijfje met haar 
Tra-la-la-la. It was 
surprising for me to see that 
titles I had always thought 
were French versions of 
original Dean books, now 
proved to be original French 
adaptations, for example the 
Polichinelle des ( 'hamps 
Elysees ou le Diable Rosse 
which I had previously 
thought was the French 
Punch and Judy as played 
before the Queen by Dean. 


Meggendorfer, produced in France by various 
publishers, was represented both by antique and reprinted 

editions (sometimes of the same title enabling the 
comparison). There were originals of Grand Cirque 
International, Scenes et Tableaux a Surprises, 1536 
Grimaces, Monsieur Seraphin de Chikepatan, Grand 
Theatre des Animaux savants and Histoires pour Eire - all 
very rare in their French editions. To my surprise I saw some 
books that were clearly done in the style of Meggendorfer. 
It was the first time I had seen a Meggendorfer imitated in 
his own time. The pull-tab Les Excentriques and the heads- 
bodies-legs Variations amusantes were examples. 

Remarkably, Ernest Nister does not appear to have been 
published in French until the reprints (remakes) from the 
1980s. But some original English editions of his typical fin 
de siecle books like Picture Pastimes and Pretty pictures 
were on display. 

Raphael Tuck, on the 
other hand, seems to have 
been very popular in 
France in that period. Lots 
of titles from his "Father 
Tuck's Mechanical Series" 
were seen in their French 
version (also printed in 
Bavaria as were the 
English editions): Le 
General Po-Pol, La Mere 
Michel, Les Farces de 
Godichon, Miaou- Miaou, 
Le petit Poucet , 
Cendrillon, Histoirede Robinson Crusoe, and others, mostly 
published by Capendu in the 1880s and 1890s. Since 
sometimes there was more than one copy of a title available. 
it could be seen how the printing quality of the 
chromolithographic pictures diminished after the frequent 
use of the lithographic stones! 

Apparently there were books published in a style similar 
to Tuck in France too, for example Le mauvais Rive, 
illustrated by the French artist Alfred Choubrac from which 
I couldn't trace a Tuck original. 

Original German highlights of the history of movable 
books like La Nuit de Noel (Die Krippe), Les Surprises ou le 
Bien et le Mai (Nehmt 's zu Herzeri), Change, ments a I tie 
( Verwandlungsbilder), Contesfantastiques, varies, choisies, 
A gravure transparentes (Theodor von Pichler, Transparent 
Verwandlungsbilder zu sechs der schonsten Marchen, a book 
with transparent pictures that adds extra elements to the 
pictures when held to the light) or Theatre Mimiture: La 
Grande Menagerie (Die Grosse Menagerie) were brought to 
France by Schreiber himself or in cooperation with French 
publishers. A wonderful copy of that other original German 
classic Le Livre d' images Par/antes (The Speaking 
Picturebook), identified by Haining as the "piece de 


resistance" of any collection, had its place. But my 
favorite, indeed, was the antique copy of the very rare 
Theater-Bilderbuch with its four pull-up dioramas of 
Robinson Crusoe, Puss in Boots, Red Riding Hood and 
Sleeping Beauty, all four seen at once in a row, one next 
to the other, held by its leporello-binding. Of course there 
was a copy of the original novelty that France contributed 
to the first Golden Age of movable books, the book with 
pictures that move by the overlay of a moire sheet Le 
Motographe: Album a" images animees ( 1 899) known for 
its front cover design done in color by the famous French 
painter Toulouse-Lautrec. 

XXe siecle 

During the two world wars of the first half of the 20th 
century European movable books did not flourished. Nor 
did they flourish in the period between the wars. 
Nevertheless, Jacques Desse succeeded in showing some 
great or remarkable movable books from that period: Tom 
Seidmann-Freud's German Das Zauberboot (1930 
edition); a French edition of H.A. Rey: Leurs Maisons 
{Animal Homes) with gatefolds; a beautiful one thousand 

and one night edition 
illustrated by Simunek, with 
a great pop-up scene: Les 
Mille et une Nitits: 
Collection Surprise ( 1 930s); 
and a wonderful, highly 
sought-after French original 
La Croissiere blanche ou 
L 'Expedition Moko-Moka- 
Mokala (1928) very nice, 
almost experimentally 
illustrated with bright 
graphics by Jack Roberts. 

Another revelation was a French-Belgian book, 
inspired by comic characters of the time and having one 
great artistic pop-up scene: Zozo explorateur (1934) 
illustrated by Franchi. Of course the whole series of six 
French Disney pop-ups from the 1930s published by 
Hachette was exhibited: Mickey Hop-Id, Mickey et le 
Prince Malapatte, Pluto et les Poussins, Les trois petits 
cochons et le mechant hup, Blanche-Neige etses amis les 
betes and Une partie de polo, for the greater part 
published only in French. 

The (imported) production of movable and pop-up 
books started again in France shortly after the second 
World War.From 1947 to 1949 Barbe in Lyon published 
several Julian Wehr books - at first as co-editions with 
Duenewald, New York, but later reprinted in Italy. Both 
editions were available (nicely showing the differences in 
printing quality!): Le Chat botte, Blanche Neige, Le petit 
Chaperon Rouge and Tchou-Tchou le petit train. Julian 

Le Petit Magiciem 

Wehr's mechanics clearly inspired Robert de Longchamp 
who apparently did the paper engineering for all of the 
books in the series of "Albums amines'" published by Les 
Flots Bleus, first in Paris then of Monaco. At least 1 5 
movables were published by them from 1947, illustrated 
partly by the now highly acclaimed Germaine Bouret, partly 
by a "'Mateja" and other illustrators. They are very desirable 
books with intriguing and sometimes very complex paper 
mechanics but they have inadequate bindings and the pages 
loosen easily. As a result, mint copies of these titles are 

rather rare: La Kermesse 
des animaux, Le petit 
Chaperon Rouge, ABC des 
animaux, Clopinet, Le petit 
Poucet, Cendri/lon, Le petit 
magicien (with highly 
innovative paper artworks). 
There was also a Disney 
title Dumbo with pop-ups 
standing as a tableau at a 45 
degree angle on the spread - 
a technique not seen 
elsewhere. As a result of the 
lack of study of the French 
movables, little or nothing 
is known about this creative 
talent. None of his books 
appear to have been translated into any other language. 

Hachette in that same period (1949-1950) produced a 
second series of seven pop-ups including four Disney titles 
of which three were shown: Les trois petits cochons, Bambi 
and Blanche Neige. Original French productions in the 
series were the first movable Babar: Histoire de Babar with 
the illustrations of De Brunhoff (the elder) and another 
comic-inspired movable, Zig et Puce by Alain Saint-Ogan. 

In the 1950s the Maxton titles were published in France: 
Le petit renne au nez rouge (Rudolph the red-nosed 
reindeer) and Les Cow-Boys and Les Indiens illustrated by 
Joseph Dreany. The carousel books published at that lime by 
Folding Books became French editions by simpl> pasting in 
the French text. 

Another series of pop-up books that was originally- 
French and apparently never translated, was published by 
the company of Lucos from Mulhouse in the east of France. 
Again, no further information about this publishing house, 
its illustrators and/or paper engineers was available. The 
production of the company seems to have started in the late 
1940s and stopped sometime in the early 1960s, few of their 
books are dated. Remarkably, only a couple of years ago, a 
number of mint copies (still in their original packing 
papers)came onto the western European market. Was it the 
result of the closing a warehouse? The rather simple 
technique of cutting and counter- folding (sometimes extra 


La Kermesse des 

paper has been pasted in) however does give nice results 
in the more than 25 books the company has published. 

Mr. Desse succeeded in 
acquiring some original 
drawings by "Gildas," 
done as gouaches and 
even the dummy of one 
spread from La Belle au 
bois dormant (Sleeping 
Beauty) from the series. 
"Gildas" and a certain Jo 
Zaguela appear to have 
been the major illustrators 
of the books but other 
names appear on them as 
well. Mr. Desse hoped 
that visitors to the 
exhibition would provide 
more information about 
the publisher and the illustrators. Except for editions of 
the traditional fairy tales, Blanche Neige, Le Petit Poucet, 
Le loup et les Sept ( 'hevrettes, Le Petit Chaperon Rouge, 
Cendrilhm, AH Baha et les Ouarante Voleurs, etc. There 
were also works on other subjects for children like the 
great ABC ' en Relief, Zoo, A Trovers le Monde (Through 
the World, with nice panoramas of Arabs, Eskimos, 
Indians, Africans, etc), Vive les Vacances, Les Beaux 
Magasins (beautiful shops, with all the charm of a doll's 
house), Les Betes que nous Aimons, Les Jeus et les 
Nomhres en Relief or Fables. Some books had specific 
French themes: Chansons de France en relief Napoleon 
and Lourdes. They are great stuff for any collection! 

Since the late 1950s the French market has been 
Hooded by the much-appreciated books designed by 
Vojtech Kubasta. The exhibition showed a good survey of 
these books. There were lots of volumes from the fairy 
tales (even a Puss in Boots in Arabic), of the "Panascopic 
Model," the "Tip + Top," and the "White series." There 
were also titles not included in Michael Dawson's 
"Checklist..." For example, there was another volume 
from the "Windowpane Series," the Czech Lelime 
\ esmirem ( 1 959?) offering a vision of how to explore the 
universe. It included a great rocket in Tintin fashion that 
erects behind the "window" of the front cover when the 
book is opened. Also included was a nice Les canetons 
intelligents (1967) with an unusual technique of folding 
paper to i I lustrate the adventures of some clever ducklings. 
The often-read suggestion that Kubasta's books weren't 
available for Czech children because they were too 
expensive for the poor little communists, definitely was 
contradicted at the exhibition by the presence of a good 
collection of books published in Czech language in the 
1950s. 1960s, and early 1970s! Fhe pop-up books 
designed by some other Czech paper engineers like 
Rudolph Lukes, J. Pavlin and G. Seda, were also on 

display in their French editions. Those done by the Czechs 
in the 1960s, and early 1970s are surprising and highly 

From 1968 until 1970 almost all the well-known books 
packaged by Waldo Hunt for Hallmark and Random House 
had French editions from Rouge et Or in Paris - and they 
were shown at Jacques Desse's exhibition. Specific pop-up 
books published only in France during that period included 
a series of six Tintin titles of which three, Tintin: On a 
Marche Sur la Lime ( 1969), Tintin: Le Tresor de Rackluim 
le Rouge (1970) and Tintin: Vol 714 pour Sidney (1971) 
were exhibited. Three books that showed the three- 
dimensional adventures of other French comic characters, 
Asterix and Obelix: Asterix aux Jeux Olympiques (1968). 
Asterix et Cleopdtre (1969) and Les voyages d 'Asterix le 
Gaulois ([974). 

A few showcases highlighted a tasteful selection of books 
from the last 25 years, mostly titles produced by Intervisual. 
It was somewhat strange to see the well-known books of Jan 
Pierikowski, David Carter, Kees Moerbeek, Ron van der 
Meer, Keith Moseley, Robert Sabuda and others in their 
French versions. The catalog contains many more of them 
and they were available for direct sale at the reception desk. 

Mr. Desse asked for my special attention to a selection of 
books designed by the Japanese artist Katsumi Komagata 
who has made highly artistic booklets since the mid 1900s. 
Printed on quality colored paper that is cut and/or folded, 
they sometimes also have transparent pages. His work recal Is 
the earlier paper experiments of the Italian artist Bruno 
Munari. A small French company, Les Trois Ourses, 
translated the Japanese texts and, since 1994, has brought 
them to the French market. They are recommended to those 
interested in artists' books." A special showcase at the end of 
the exhibition featured a small collection of books made in 
limited editions by artists like Andy Warhol, Julio Plaza 
(Brazil), Dieter Roth (Germany), Vasarely, Rein Jansma, 
Marina Spivak (Russia), UG (France), Gaelle Pelachaud, 
and Beatrice Coron. 

Some final showcases were filled with books that Mr. 
Desse described to giving "a transformation in two 
dimensions, without mechanism." These included novelties 
like windowbooks, books with gatefolds, cut-outs, heads- 
bodies-legs, lift-the-flaps. growing pages, transparent pages, 
changing costumes, etc. Both historic and modern examples 
were shown by people such as Raymond Quencau (Cent 
Mille Milliards de Poemes), Bruno Munari (a complete set 
of his seven books in their 1945 Italian first edition), H.A. 
Rey, Andre Helleand Tove Jansson. Here was also found an 
exquisite historical collection of some 30 (French) 
anatomical and technical books with "superimposed plates," 
ranging from as early as 1834 (Achille Comte, Physiologie 
Pour les Colleges et les Gens du Monde) to the last known 


such publication, the 1949 edition of Descarces, Nouvelle 
Encyclopedie Pratique d electric ite. Most remarkable 
here was a complete set in 1 1 large folio volumes with 
accompanying descriptive booklets of G.J. Witkowski's 
Anatomie Iconoclastique, published successively from 
1873 to 1902 and executed partly in hand-colored 
lithographs (later parts in chromolithography). It is 
extremely rare to see a complete set of this marvelous 

information often has been stated, the catalog also invites 
further research on the history of the French movable book, 
its makers and publishers, its international exchanges and 
adaptations, the contacts between the French publishers and 
publishers abroad (Dean, Tuck, Schreiber, etc). So much 
more still needs to be researched before a reliable history of 
the movable book (in Europe) can be written. This catalog 
smartly fills a gap by coloring in so many white spots. The 
catalog is illustrated with over 100 pictures, some in color.' 



As mentioned, Mr. Desse is an antiquarian bookdealer 
who within a couple of years brought this collection 
together. Now wanting to sell the books, he made a 
catalog of what he had acquired. Since there has been 
little interest in these books in France until now, there 
were hardly any publications on the subject. Since the 
Paris colleagues in the book trade were not particularly 
willing to inform their new competitor, he had to write the 
catalog himself by studying the (not too abundant) 
international literature. He even had to start making a 
reliable list of French terms to describe the various 
manifestations of the movables before starting the 
bibliographical descriptions of the books. Nevertheless, he 
succeeded within three months to produce a catalog that 
will for years prove to be a reference work on French 
movable, novelty and pop-up books! Starting with a short 
history of movable books, the catalog continues with an 
extensive definition of these books, and a chapter that 
painstakingly describes the techniques used to animate the 

The description of the 603 items (actually 594 since the 
numbers 131-139 are missing!) starts with over 50 items 
of movable ephemera from the 18th to the 20th century 
and continues with the enumeration of the books in 
chronological segments: The beginnings / XlXth century: 
the Golden Age / XXth century: 1900-1945 / After the 
War: the years '50- '60/ Specific French productions: Les 
Flots Bleus and Locos / Czechoslovakia: the Artia 
publications The aesthetical pop-ups: Hallmark and 
Random House (Rouge et Or) / The years '70- '80 / 
Contemporary/ Transformation books in two dimensions, 
without mechanism. Every part starts with a short 
introduction that characterizes the period and within each 
chapter there is a further grouping based on the techniques 
used, the publishing houses, the paper engineers, etc. The 
bibliographical description of the books (and copies) is 
very professional and gives lots of details to enable exact 
determinations (measurements, printers, lithographers, 
variant cover title, description of binding, etc). The 
catalog can stand as a model for further bibliographies! 

Since there has conscientiously been given just that 
information that was known for sure and the lack of 

After all the above the reader will not be surprised when 
I pronounce my great admiration for what Jacques Desse has 
done by organizing this exhibition and for the promoting 
movable books in general and for French booklovers in 
particular. He didn't just organize a display of pop-ups to 
sell, through both the exhibition and the accompanying 
catalog he has provided a wonderful and instructive survey 
of the history of movable books in France. He has become 
the ultimate French specialist in the field and anyone 
interested in French movable and pop-up books (and their 
acquisition) will have to contact him. In the future surely we 
will see references in articles and in antiquarian booksellers 
catalogs to the corresponding number in his catalog: "Desse, 
nr." or "Not in Desse!" And his unwilling "colleagues" on 
the great boulevards will wonder how much history Jacques 
Desse has written. 

I wasn't the only one who appreciated the exhibition, the 
press gave it wide coverage. In the first days three main 
French TV channels included stories about the exhibition in 
their news programs in prime time and the prestigious 
newspaper Le Monde had an appreciative article. There were 
so many visitors that the exhibition, planned to end on 
January 27, had to be extended until February 9. 

The biggest honor for Mr. Desse however - in addition 
to the good sales - was the invitation of the prestigious Paris 
Bibliotheque Nicaise, the French "Temple of Bibliophih," 
to organize another exhibition of movable books later this 
year in their sanctum! Such a prestigious invitation makes 
one's name in "tout" literary Paris. In his own words: "It 
feels as having been awarded the Nobel prize of 


1 Jean-Marie Embs and Philippe Mellot, Le siecle d'or du 
livre d'enfants etdejeunesse 1840-1940. Paris, Les editions 
de I'Amateur, [2000]. 

1 See my article "Books with (re-)movable illustrations" In: 
Movable Stationery 10, 3. 

3 Jean-Pierre Bres, Le Livre joujou avec figures mobiles. 
Paris, Louis Janet, [183 1 ]. 

4 Jacques de Saint-Albin, Livres a transformations partis en 


languefrancaise, classes selon les procedes. hi: Nouvelle 
del'Estampe, No. 6- 1968. 
s The exhibition Livres animes, organised by the 
Bibliotheque Municipale in Rouen 1982 - with catalog. 

6 See my article about them in the last issue of the 
Movable Stationery, Vol.10, 4. 

7 The strongly reduced German reprint (without tabs) of 
this book, Aber dahinter...., was reviewed by Robert 
Sabuda in Movable Stationery Vol.4, 2. 

3 For further information see their website: 

9 For the insider: Choulant, History and bibliography of 
anatomic illustration, nr. 406. 

10 For your copy of the catalog Livres Animes. Une 
exposition organisee par Jacques Desse et le Marche 
Dauphine. Paris, Jacques Desse, 2002 (10.00 euro, about 
$12.00 US; credit cards accepted) contact Mr. Desse 
directly. His adress: Marche Dauphine, 132-140 Rue des 
Rosiers, F-93400 Paris / Saint-Ouen. Tel: 01.47.400190. 
E-mail: Mr. Desse speaks 
English as well. 

" Your reviewer was not - yet - sponsored for this article 
and reviewed from his own enthusiasm only. 

Frankfurt Book Fair, continued from page 2 

In a similar fashion are David Carter's pop-up version of 
Who Took the Cookie from the Cookie Jar? (Cartwheel): 
Ken Wilson Max's The House that Mac Built (Simon & 
Schuster, 0-68 l >-83692-9) offering pop-up bulldozers, 
cement mixers, etc; the recently published The Eensy, 
Weensy Spider, a pop-up book by Jane Manning 
(HarperCollins, 0-694-01684-3); and In the Dark, Dark 
Wood by Jessica Souhami with a wonderful pop-up 
surprise at the end. These titles also overlap in purpose 
with the next group of books. 

Finally, to what I would 
like to call the "cultural 
enrichment" of the young 
child, those concepts that 
form the child into what is 
usually valued as the 
inheritance of western 
(Anglo Saxon) culture. 
These include religious 
subjects as well as 
"culture"' as represented by 
specific popular characters. A large number of books like 
the simple fan folded editions of fairy tales published by 
Grandreams, Ottenheimer, Brimax and Peter Haddock, 
the products of Disney, the spin-offs of TV series, and the 
characters originating from book figures and merchandise 
are included here. Some titles that fit this category are: 
The Princess and the Pea: A Very Very Short Pop-up 
Story (Simon & Schuster. 0-689-84685-1) and Keith 

Faulkner's Charlie Chimp's Christmas: A Pop-up 
Extravaganzaof Festive Friends (Barron's, 0-7641-5556-3). 
More are the pop-up, pull-tab book The Secret Angel by Jan 
Lewis (Orchard); the bag-shaped My Ballet Bag (Simon & 
Schuster, 0-689-83684-8) with a handle, pull-tabs, and a 

pop-up spread at the end. 
Disney is represented with 
the Disney Pop-up Pals and 
Pop-up Princesses (Disney 
Press); the pop-up, lift-flap 
book A Princess is... and the 
similar but heart-shaped The 
Sweetest of Hearts both 
featuring Disney heroines 
(Random House). The 
trademarked characters of 
"Tough Stuff' are featured in 
the pop-up adventure Volcano 
alert! (Egmont Books, 1-4052-0534-2) and the furn-the- 
wheel of To the Rescue (1-4052-0533-4). Rev. Awdry's well- 
known locomotives are available in Thomas ' Splendid Pop- 
up (Egmont Books, 0-434-808-37-7) and What's on the 
Line, Thomas? (0-434-80301-4) with wheels to turn. There 
is a whole group of books with TV series tie-ins such as 
those seen on BBC television, for example, Andy Pandy: 
Home Sweet Home (BBC Worldwide, 0-563-53227-0), the 
pop-up book of Bill & Ben, a Flower for Weed (0-563- 
53366-8), the changing pictures book of Bob the Builder, 
Bob's Metal Detector (0-563-53212-2). Some characters 
better known from picture books and marketed in a whole 
range of picture, board, touch-and-feel, foil, lift-the-flap 
books, and all kinds of merchandise, are now in three- 
dimensional form. Penny Dann's too pink fairies are in The 
Secret Fairy Home (Orchard, 1 -84 1 2 1 -214-8), a "Blossom 's 
Pop-up House with Fairy Furniture" with fairy kitchen, fairy 
bed and fairy bathroom. Jane Simmons' winning duck Daisy 
is featured in Goodnight Daisy, Goodnight Pip (Orchard, 1- 
84121-264-4), a star-shaped carousel book with the 
traditional five dioramic views. There were a lot more 
movables featuring commercial characters, but 1 will not list 
them here. It is a comfort for me to know that you will 
stumble over them in book stores, toy shops, or when surfing 
the net! 

For older children... 

With some modifications, one could categorize movable 
books for children ages six to ten by the psychological stages 
in their development. Since I do not want to repeat myself, 
I will confine my listing here what I have seen published for 
this age and leave to the reader the classifying of the books 
to the various kinds of child development. 

With rather simple pop-ups, tabs, and wheels there are 
new titles from Bookmart, under the Amadillo imprint: // s 
a Bug 's Life ( 1 -84322-04 1 -5) and It 's a Dinosaur 's Life ( I - 


K#< fishing 



P*' ^L 




__ Lulu Hnmcn 

84322-040-7). Two others are similar, B/g Machines ( I- 
84322-045-8) and Far/n Machines (1-84322-046-6) but 
they have a surprise on their last spread that unfolds to 
twice its size with a nice pop-up scene of a group of 

Machines also pop 
up in Paul 
Stickland's newly 
published Big 
Dig: A Pop-up 
(Ragged Bears, I- 
His next book, 
seen as a dummy, 
will change the 
place to a Jungle Bugle. A funny play with letters of the 
alphabet will be found in Pamela Hall's pop-up book 
Elemenopee: The Day L.M.N.O an J P Left the ABC's 
(Intervisual). With illustrations by James Williamson, it 
makes children aware of the importance of each letter. 
There also is great fun with Jay Young's Amazing Pop-Up 
Science Flea Circus (Sterling / Big Fish, 1 -403 1 74-68-6) 
with six pop-up acts performed by "invisible" bugs. The 
gorilla painter and Hans Christian Andersen Award 
winner Anthony Brown has his first pop-up book with lots 
of additional flaps, tabs and wheels with his animated 
interpretation of the well-loved playground rhyme 77?e 
Animal Fair published by Walker Books (0-744-58829-4). 
Witch Zelda pops up again in the (third) sequel Witch 
Zelda's Beauty Potion (Tango Books, 1-8570-7555-2) 
now in the shape of a witch's cauldron. The team of 
Faulkner and Lambert had dummies of two new pop-up 
stories with added glitter foil: Crocodile Tears and Spider 
Jewels, illustrated by Czes Pachela. Another couple 
(literally). Ken Wilson-Max and Stanya Stojic, just 
published^ Book of Letters (Chrysallis Children's Books 
- an imprint of David Bennett Books - 1-85602-424-5). 
This is an ABC book with real letters, envelopes, and a 
large format fold-out ABC poster. Another book with an 
envelope, but also including flaps, wheels, and peep- 
through holes is the new "My Surprise Book of a series 
of interactive information books from Oxford University 
Press. The first four titles are Night and Day (0-19- 
9 1 0774-2), Pirates (-9 1 0772-6), Seasons (-9 1 077 1 -8) and 
Senses (-910771-8). Random House / Bodley Head 
continues the pop-up success of the formula by Kate Petty 
and Jennie Maizels with The Super Science Book (0-370- 

Characters here also pop up with new books: the 
trademarked The Powerful Girls (Brainwaves, 0-439- 
30548-9) known from the Cartoon Network, and the next 
title Pop Goes the Monster: A Powerful Girls Pop-up 
Adventure. Harry Potter and the Chamber of Secrets: A 
Deluxe Pop-up hook (Intervisual, published by 

Seholastic/Levine, 0-439-45193-0) is now available. 

September 1 1 is remembered in several books, not 
presenting the actual horrible events of that day. but 
honoring the people who played an heroic role shortly after 
the catastrophe. They are seen in Pop-up Firefighters. Police 
Officers and EMT's to the Rescue (from the new company 
of Carah Kids, 1-931931-04-6) and Here Come our 
Firefighters (Simon & Schuster, 0-689-84834-X) by Chris 
Demarest. It will be followed next March by his Heroes of 
the Sky: A Search and Rescue Pop-up (0-689-84835-8) 
showing how a helicopter squad leaps into action. On the 

other side there are books 
that aim to strengthen 
patriotic feelings of 
American kids: Pop-up 
Book About "America the 
Beautiful" the Famous 
Song by Katharine Lee 
Bates (Carah Kids, 1- 
931931-07-0), Pop-up 
Book About the Pledge of 
Allegiance illustrated with 
Eight of America's Most 
Well-known National 
Monuments (1-93 193 1-05-4) and the novelty press-out and 
play book Uncle Sam by Steve Light ( Abrams, 0-8 1 09-3498- 
1). In the later the user can construct a sturdy board model 
of this U.S. national symbol who waves a flag and rides on 
a parade float that really rolls. 

. . . and for all ages 

To go on with the chosen theme of my article, I will list 
some books that don't seem to aim at any special age group 
but are made for "children of all ages." Tango Books 
presented a third sequel in their "pop-up board games 
series": The Book of Fairytale Games ( 1 -8570-7562-5) with 
a spinner in a storage pocket and an integrated paperback 
reading book. A nicegift book with pop-ups and illustrations 
simply painted in Sumi ink by Lulu Hansen is Fishing for 
the Moon, and other Zen Stories (Universe, 0-7893-08 1 6-9) 
containing nine Zen parables. Effectively, for me, the 
aforementioned Amazing Pop-UpScience FleaCircus by Jay 
Young also counts in this category. 

Maybe also in this line are books that strengthen patriotic 
feelings in America -at least as experienced at the Frankfurt 
Book Fair: Chuck Fischer's "pack" of Great American 
Houses and Gardens: A Pop-up Book (Universe, 0-7893- 
0798-7), paper engineered by David Hawcock. 
Unfortunately, the pop-ups don't fold out too well in m\ 
copy and the paper used for the artwork, is in my opinion, 
somewhat too weak. Being pleased to find a peepshow (of 
which house?) built inside the front cover, my enthusiasm 
for this particular one shrank when I didn't see the expected 


perspective view when peeping through the hole(s). For 
me the ultimate must-have of this year's Frankfurt Book 
Fair - though not exactly a pop-up book - was without any 
doubt Edward Gorey's most desirable Dracula: A Toy 
Theatre (Pomegranate, 0-7649-2136-3). It was 
mysteriously announced as "Second Edition" but I had 
never seen it before. The slightly sinister, fitted cigar-box 
packaging contains die-cut, scored, and perforated fold- 

u p s and 
foldouts, based 
on Edward 
Gorey's set and 
costume designs 
for his award- 
production of 
Dracula. There 
are three pop-up 
stage sets, a cast 
of eight (15 
figures in all), stage furniture, a 4-page booklet with 
assembly instructions, a synopsis of Gorey's adaptation of 
the play based on Bram Stoker's gothic novel published in 
1897, and notes on Edward Gorey (1925-2000) and his 
many magical creations. When assembled there is a 3-D 
theater with a rotatable three-set stage and a cast (hat 
hovers between the macabre and the humorous, ready for 
the three acts of the play. For those who cherish his pop- 
up book A Dwindling Party and the peepshow Tunnel 
Calamity this is another gem for the collection! 

The Names 

Trying not to show my personal preferences too much, 
I'd like to list here the major new works of the great 
names of paper engineering in alphabetical order. For 
some years, the most missed paper engineer is Ron van 
der Meer, who after the failure of his company Van der 
Meer Publishing, seems to be enjoying some sabbatical 
years. Let's hope he soon returns to the business again 
soon with new specimens of his paper witchcraft loved by 
so many children, collectors, teachers, and others. 

Besides Who took the cookie from the cookie jar'! from 
Cartwheel, there was another new (non-bugs) pop-up book 
by David Carter, shown at Intervisual: Glitter Gritters 
(Piggy Toes Press, 1-58117-199-4) announced as "his 
biggest and best pop-up book" and featuring brightly 
colored creatures with foil accents that introduce 
themselves with phonic rhymes. Indeed it is in a larger 
format than we are used to from him and it has a feast of 
colors in the ingeniously engineered paper beasts. 

On display at Macmillan were the new books of their 
master engineer Nick Denchfield, the recently published 

Pop-up Mini-Beasts Adventure (0-333-96395-4) illustrated 
as usual by Anne Sharp, and the dummies of his two new 
books. The first new book. Pop-up Spooky Castle: A Bone- 
rattling Adventure is a carousel book illustrated by Steve 
Cox that invites readers to play the game of overcoming the 
spooks and ruling the castle, reminiscent ofthe pop-up board 
games series of Tango Books. It has press-out figures and a 
"Can you spot?" page. The second new one, Pop-up Magical 
Beasts, will prove to be a highly collectible one. "Entering 
the world ofthe most fantastic creatures that never walked 
the earth" there are three fold-down pop-up spreads and four 
spectacular apart from the book - freestanding models: a 
unicorn, a dragon, a three-headed dog and a griffin! A 
wonder of paper engineering indeed. 

Simon & Schuster, the publisher that currently has the 
best pop-up books on their list, had the new Bruce Foster 
book on display. The Princess and the Pea: A Po^up Book 
by Sarah Anderson and illustrated by Chris Demarest. 
Announced also was a new book by Olive Ewe, Bee Mine: 
A Pop-up Book of Valentines, paper engineered by Mr. 
Foster, but I have not yet seen it. 

While his company, Hawcock Books, did not have a 
booth, David Hawcock was spotted attending the fair. I 
didn't meet him, but by good fortune I was given a copy of 
the glossy "very first Hawcock Books catalogue" by a 
publisher friend. Of course, included were the pop-up book 
of Great American Houses and Gardens and earlier works 
such as The California Pop-up Book and the series of 
"amazing pop-up pull-outs" published by Dorling 
Kindersley. Three books were new to me: The Pop-up Stand- 
out Dinosaurs, with six removable three-dimensional stand- 
up models of dinosaurs that can stand free of the book and 
two books with removable pop-up masks to enjoy as pop-ups 
in the book or as masks to wear by the child outside the 
book, Incredible Wearable Animal Masks, and Harry Potter: 
A book of Masks. 

From Kees Moerbeek, as mentioned above, his new 
book You Monsters are in Charge: A Boisterous Bedtime 
Pop-up, has a creepy though very colorful counting book 
with fold-downs that generate movement in the increasingly 
crowded scenes. Attending the fair for only one day with his 
wife, paper engineer Carla Dijs, Kees proudly told me that 
he has been commissioned by Simon & Schuster to design, 
illustrate, and paper engineer their next "Classic 
Collectible," a pop-up version of Raggedy Ann. There will 
be an accompanying limited edition with an extra pop-up 
extravaganza. He had every reason to feel honored! 

Keith Moseley, the grand old man of paper engineering 
for 50 years, doesn't seem to be lucky in getting his current 
books published. Since Van der Meer Publishing, his last 
publisher, stopped producing pop-ups, I have seen new, 
innovative carousel books of Mr. Moseley 's shown by other 


publ ishers. A dummy of The Edwardian Grocer 's: A pop- 
up House was offered last year by Aladdin Children's 
Books and it popped up again this year with the packager 
Tony Potter Publishing. Dummies of The Enchanted 
Castleand The Haunted House of Horror, likewise offered 
in 2001 by Aladdin, now appear to be published by Key 
Porter Books in Toronto, Canada. 

Simon & Schuster will publish the David Pelham 

pop-up book Animals I to 100, done together with his wife 
(?) Sophie Pelham. Announced as a lift-the-flap, pop-up 
counting book, it sounds like a sequel to his earlier pop-up 
alphabet book A for Animal but I didn't have the 
opportunity to see any of the art work at the fair. 

Last year, packager 
Matthew Price announced a 
new pop-up by Jan 
Pierikowski, The ( 'at With 9 
Lives, paper engineered by 
Steve Augarde. It has not yet 
been published. As Mr. Price 
told me, as a result of the 
miserable economic 
situation, no publisher has 
yet bought the title but he 
still hopes to get the book 
published. Meanwhile two 


(s ^a 


new titles designed by Mr. Pierikowski were announced 
for 2003 by Walker Books: The Animals Went in Two by 
Two: A Noah's Ark Pop-up Book (0-7445-9267-4) and 
The First Noel, a nice carousel book on an old theme (yet 
without an ISBN). 

At the stand of his Bulgarian publisher Kibea 
Publishing I had the privilege of meeting Anton 
Radevsky the paper engineer of some highly estimated 
pop-up books, of whom I wrote a profile in the last issue 
of Movable Stationery. He not only gave me copies of his 
two nice pop-up books published in Bulgaria in the late 
1 980s, but also showed me the great dummies of his three 
new books: The Wonders of Architecture, The 
Automobile: A Pop-up Book and The History of Weapons. 
He pointed out to me the solutions he had found for all 
kinds of engineering problems, nice small innovative 
details in the artwork and, since he is an expert of old 
weapons, all kinds of information on that subject. His very 
active publisher, Dimitar Zlatarev, succeeded in getting 
three renowned American publishing houses interested in 
publishing both the architecture and the weapons book! 
Because of the various conditions of these publishers, 
Kibea still had to decide with whom they would publish. 
Finally more collectors will have the opportunity in 2003 
to share my enthusiasm for Mr. Radevsky's engineering 

Some packagers 

The rather small output of movable books from most 
packagers has already been addressed, so here I would like 
to confine myself to some remarks on packagers, some 
known to me and some hitherto unknown. 

At the stand of Intervisual Books 1 had the pleasure of 
being introduced to the company's new CEO Larry 
Nusbaum on duty since Waldo Hunt sold the company at the 
end of 2001. The new executive vice president Steven 
Wallace offered me their new catalog and showed me some 
of the new projects of the company, now based in Los 
Angeles. The catalog seems to offer more new movables and 
pop-ups than we have seen in the last few years, so the 
enthusiasm of the new owners is promising. Some of them 
have been mentioned above. Further interesting new titles 
are sequels to the successful Ten Little Ladybugs with plastic 
objects that glow in the night and are visible through cut- 
outs on the pages: Goodnight Sweet Butterflies (Simon & 
Schuster, 0-689-85684-9), Eight Silly Monkeys (Piggy Toes 
Press, 1-581 17-186-2), Ten Wishing Stars and Scooby Doo! 
The Case of the Disappearing Scooby Snacks. A cute little 
book with nice pop-up flowers will be their Pop-up Garden: 
A Learning Through Nature Book illustrated by Elisabeth 
DiGregorio and teaching pre-schoolers about color, size, and 
shape. A nice new technique offers Thea Feldman's Animals 
Everywhere: A Learning Fun Box Book with illustrations by 
Tammie Lyon and paper engineered pages folding up into 3- 
D shadowboxes to reveal dimensional scenes that show the 
animals in their environment: arctic, jungle and ocean. 

Some of the pop-up books we found last year under the 
imprint of Robert Frederick Ltd were now on display under 
the name of a new packager Top Story from Bath in the 
U.K. (Top Story is apparently an imprint of Grandreams, 
used for their "better" pop-up books.) They had a wonderful 
catalog in full color and a great pop-up in the center spread. 
Except for the carousel books Dinosaur World and Jungle 
Tree House, already spotted last year, they had a series of 
some 15 square pop-up books, some of which were seen last 
year: Dinosaur, Farm, Jungle, Sea, Pets, Giant Animals of 
the world. Goldilocks and the Three Bears, Three Little 
Pigs, A Present for Santa. Haunted House, Reptiles, Planes 
Trains & Automobiles, Tractors Diggers & Bulldozers, Joe 
on Holiday, and Emily Likes to Hide. All are in the large, 27 
x27 cm., format with bold, sturdy pop-ups done in colorful 
attractive graphics. The whole is somewhat reminiscent of 
the Kubasta books adapted to the taste of a 2002 mass 

We had never seen before the packaging company of 
Working White, with their imprint Poppy Red - though we 
recognized their changing pictures books done by Margot 
Thompson, Make a Change: Shapes and Make a Change: 
Opposites published by Millbrook Press. A series of three 


"Seek and Slide" books. In the Sea, In the Wild, and On 
the Farm have sliding windows revealing the picture of 
the word printed on the (closed) window. Also available 
for interested publishers was Face to Face Safari with its 
uninviting subtitle Dare You Face the 6 Giant Pop-up 
Animals (Poppy Red, 1-90227-17-4). Their mysterious 
novelty Five Little Speckled Frogs ( 1 -90227-2 1 -2) invites 
readers to watch the frogs dance. While the child counts 
one to five, the frogs jump on the pages by turning the 
built-in magnetic wheel; a very funny magical effect! 
Innovative, too, were two books by Emma Dodd: .VV; Place 
Like Home and Hot Dog, Cool Cat said to be "a crazy 
crisscross book of animal opposites" and both showing 
pictures designed as mat-plaitings by the sliding of which 
the child has to mix up the animals. A nice addition to the 
range of novelties in paper artwork. 

The Book Company Publishing Ltd. came all the 
way from Sidney, Australia to show their new books. The 
books are not yet too refined or tricky but neither are they 
too bad. At least three of the pop-ups were published in 
the U.S. in 1999 by Grandreams of Linden, N.J.: Mighty 
Machines, Great Machines and Speed Machines. The 
second and third title were published in Germany as 
Riesige Baumachincn (3-935429-14-2) and Fantastische 
Fahrzeuge (3-935429-13-4) at Lies + Spiel Verlag in 
I lamburg. The paper engineering of these books was done 
by Stephen Ramsay but on later titles, such as Fly Away 
Home (1-74047-152-0), a pop-up book on butterflies and 
insects, and Catch That Hat! ( 1 -74047- 1 62-8) a pop-up on 
the world of Teddies, he was no longer credited. It appears 
that the paper engineering was done in-house. Their [n- 
house illustrator appears to be Stuart Martin who did the 
colorful pictures for almost all the books. In the 
December, 2002 issue of Movable Stationer} some other 
titles from the company were listed at the website where 
the books can be ordered: 

Finally, a new packaging company we met was the 
London-based C4Ci, being the rather cryptic abbreviation 
for Creations for Children International. Talking to the 
publisher Marc Barbier, the company appears to be the 
former Belgian company "ADC" known for some years 
for their mass-market pop-up (fairytale) books. Since a 
management buy-out, the company has changed its name 
and is now based in the U.K., though the work continues 
to be done in Belgium. In addition to the simple fan folded 
pop-up books, Mr. Barbier also showed me a large dummy 
ot an egg-shaped Easter pop-up book Pop-up Egg 
Deliver}' Sen'ice. Ft is a carousel book crowded with busy 
I 'aster bunnies and promising further "hidden fun on 
every page." The paper engineer who produced the 
dummy is Belgian Dirk Dupre. a newcomer in the field. 
Since Mr. Dupre had previously done some illustrations 
for the company, and also refined some of the fanfolded 
pop-ups, Mr. Barbier asked him to do a pop-up book. He 

had not expected to see such a lovely, "full" pop-up book. 
Mr. Dupre surely makes his mark with this wonderful book. 
Mr. Barbier had more pop-up surprises for me by showing 
me the dummy of one of a series of four other egg-shaped 
books that open halfway to reveal very intriguingly 
engineered paper artwork folding out to a kind of "rocking 
animal," done by another beginner in the field Nikoly 
Nemzer from Russia! Seeing my enthusiasm for the 
dummies, he offered to connect me with both paper 
engineers. Since then I have had lively e-mail 
correspondence with both men and profiles of them appear 
in this issue. 

European movables and pop-ups 

This will be the shortest part of my article. Where the 
Anglo Saxon market for movables and pop-ups appeared 
rather dull, the continental market proved almost completely 
gone. The new Pinocchio movie by Roberto Benigni brought 
from Italy a nice picture book with stills from the movie and 
a three-dimensional paper toy theater inside the back cover, 
// "Gran Teatro del Burattini" di Pinocchio published by 
Gruppo Edicart in Lignano. A nice flip book for lovers of 
these movables is Pinocchio: Orecchi di ciucol (Giunti, 
Firenze, 88-09-02680-2). And our fellow member Massimo 
Mizziroli did a new pop-up version of the classic tale: 
Pinocchio Pop Up (Emme Edizioni, 88-7927-571-2), 
illustrated in sparkling bold colors by Lucia Salemi. The 
book has magnificently engineered scenes of a great puppet 
theater with puppets on strings and a pop-out surprise, a 
beautifully worked out coach, a festive circus spread, and an 
intriguing big fish on the last spread. Mr. Missiroli proves 
to have developed into a professional paper engineer who 
knows how to make effective surprises between the pages. It 
is a great adaptation and highly collectible! 

In France there are some nice, colorful movable (sliding) 
books engineered by Jean-Luc Cherrier from 
M.F.G. Education ofEvry: Man Livre Anime 1,2,3, Compte 
a la Ferm (2-84403-472-1) and Man Livre Anime, les 
Couleurs des Animaux (2-84403-472-X). Albin Michel 
Jeunesse has Pin-Pon! a pop-up book on big machines done 
by two Japanese artists Furukana and Motonobu in an 
origami-like style, and the novelty Le Munoir Hante (The 
haunted house) by Jean Make printed completely (text and 
pictures) in a phosphorescent ink that glows in the dark. 

The larger publishing houses in Germany that did pop- 
up books in the past, Schreiber, Coppenrath, Ars Edition, 
had nothing new. We found a small German publisher. 
Edition 8x8 from Hamburg, that offered funny black and 
white do-it-yourself pop-up cards, mini paper theaters, 
humorous mini automata (some erotic ones too), and even a 
DIY pop-up book. See their website to 




A series of beautiful books 
originally done in Tunesia (and 
later in France) are available 
again. The pop-up books have 
very complex paper artwork by 
Isabelle Courmont and are 
somewhat reminiscent of the 
National Geographic series. 
Collectors now have another 
chance to obtain them since 
some have been reprinted and 
published by the Kik Verlag in 
Switzerland: Die Oase. Ein Rastplatz in der Wiiste (The 
Oasis: a resting place in the desert, 3-906581-13-6) and 
Der Nil (The Nile, 3-906581-14-4). A third volume is 
available in Bulgarian (no problem since the story is well- 
known): Odyseus (Kibea Publishing, e-mail:, 954-474-069-4). 

And finally, we met a new company Pop Systems 
International from Verviers, Belgium that offers a whole 
line of packaging materials with built-in pop-up scenes. 
They have a box (patented under the trade mark "Pop'N 
Play 5 ") that opens in a special way to create a 90 degree 
tableaux with a pop-up scene. They showed how it could 
be used for pop-up advertising, postcards, tourist 
ephemera, CD, video or software box with an appropriate 
3-D scene. They even have a boxed pop-up book. There is 
more to see from them on their website And that was all I found published 
in Europe in 2002! 


Although the 2002 Frankfurt Book Fair didn't include 
many highly collectible movable or pop-up books, I had a 
great time attending. My focus on the use of rather simple 
techniques in books for educational purposes for young 
children appeared to be a good plan as it gave me an eye 
again for the original function of movables and pop-ups. 
It also brought me to publishers usually overlooked but 
ones that appeared to be conscientious makers of 
children's books. It was a pleasant eye-opener for me. 

On the last night of the Book Fair I had dinner with 
Anton Radevsky and his publisher Dimitar Zlatarev and 
learned that Guillermo Holguin, the former CEO of the 
pop-up assembling department of Carvajal, attended the 
fair. I was told he was trying to get enough orders to 
produce pop-up books - apparently apart from Carvajal - 
and to again resume the hand-assembling industry in 
Columbia (or Ecuador?). We can be happy that in this way 
all the experience built up at Carvajal over so many years 
of producing the finest pop-up books will not be lost. Good 
luck to Mr. Holguin with his new start. 

Stephen King to Pop Up 

Little Simon has announced that it plans to publish the 
first-ever pop-up book by the best-selling author Stephen 
King. It will be an abridgement of King's 1999 bestseller 
The Girl Who Loved Tom Gordon. The January press release 
did not mention a publication date nor did it name the 
illustrator or paper engineer. 

Circle Press 

Ronald King and his Circle Press have made artists' 
books since 1967and his pop-up books include Bluebeard's 
Castle ( 1 972) and Alphabeta Concertina ( 1 983). The Circle 
Press archive was donated to the Yale Center for British Art 
at Yale University. In 2002 Yale held "Cooking the Books: 
Ron King and Circle Press," a retrospective exhibition. A 
catalog of the exhibition, with the same title, was published 
by the Center and is available for $75, 0-930606-965. The 
catalog includes 7 leaves of plates and a pop-up designed by 

Opportunities for Book Artists 

The 2003 Summer Arts Institute of the Women's Studio 
Workshop in Rosendale, New York, is offering two to five 
day workshops in the book arts, printmaking, and 
papermaking. A full description of the sessions is available 

The St. Louis Artists' Guild is sponsoring a juried 
exhibition of book arts. The deadline for submitting slides is 
July 21. For prospectus and entry form send a #10 SASE to 
Under Cover to St. Louis Artists' Guild, 2 Oak Knoll Park, 
St. Louis, Missouri 63105. 

Oregon Book Arts Guild is holding its sixth biennial 
Focus Conference July 9-13, 2003 at Lewis and Clark 
College, Portland, Oregon. This event is a gathering of book 
makers, both beginners and experienced, and offers four 
days of classes, lectures, and artists' works. For more 
information contact Alesia Zorn, 

A Books Arts Fair is being held at the Taproots School of 
the Arts in St. Louis, Missouri on April 5-6, 2003. It will 
feature exhibits of professional and student work in the book 
and paper arts, including papermaking, letterpress, 
calligraphy, bookbinding, artists' books, as well as an 
artists' market. For more information see their web site at 


Catalogs Received 

Books of the Ages. Catalogue 33: AM and Pop-ups, 
Winter, 2003. Gary J. Overmann. Maple Ridge Manor. 
4764 Silverwood Dr., Batavia, Ohio 45 103. Phone: 513- 

Fishing for the Moon and other Zen Stories, Universe 
Books. 9 pages. April. $25.00. 0-789-30816-9. 

The Greatest Story Ever Told: A Pop-up Activity Book. 
By Alan Parry, Linda Parry. John Hunt Publishing. £9.99 
12 pages. 1-842-98108-0. 

Jo Ann Reisler, Ltd. Catalogue 60. 360 Glyndon St., NE, 
Vienna VA. Phone:703-938-2967. Fax: 703-938-9057. 
Email: Reisler(a> 

Stella Books. Pop-up List. 

New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or advertising. 
All titles include pop-ups unless otherwise identified. 

77/<? Animals Went in Two by Two: A Noah's Ark Pop-up 
Book, by Jan Pierikowski $14.99. 18 pages. Candlewick 
Press. 0-763-61991-4. 

Bang, Bang! Who's There? 
14 pages. 4x3!4. $2.95. 
Barrens Educational Series. 

Bee Mine: A Pop-up Book 
of Valentines. Little Simon. 
16 pages. $12.95. 

Dora's Book of Words I Lihro de Palahras de Dora. 
(Tabs) $10.95. 16 pages. 9 x 8. Simon Spotlight. 

Elemenopee. Piggy Toes Press. $13.95. 1-581-17209-5. 

Ellie & Pinky's Pop- up 
Shapes. 10 pages 10x8. 
Piggy Toes Press. $7.95. 

Face to Face Safari: Dare 
You Face the Six Giant 
Pop-up Animals. A brains 
Books for Young Readers. 
14 pages. April. $14.95. 

Grinch Pops Up! By Dr. Seuss. Random House. 12 pages. 

Heroes of the Sky: A Search 
and Rescue Pop-up. Little 
Simon. March. $10.95. 18 
pages. 0-689-84835-8. 

*«i»n* vr> 


Katie and Tom's Busy Day. 
(tabs and lift-the-flaps). 12 
pages. 12 x 10. $16.95. 
Larousse Kingfisher 
Chambers. 0-7534-5526-9 

Love Bugs: A Pop-up Book. Mini Edition. By David Carter. 
Little Simon. $6.99. 0-689-85815-9. 

My First 100 Words in French and English. (Tabs). By 
Keith Faulkner. Paul Johnson (Illustrator). 12 pages. 11x9. 
$1 1.95. Simon & Schuster. Reissue edition (May 1993). 

My First 100 Words in Spanish and English. (Tabs). By 
Keith Faulkner. Paul Johnson (Illustrator). 16 pages. 11x9. 
$12.95. Simon & Schuster. Reissue edition (May 1992). 

New Yellow Bulldozer. By Steve Augarde. April. Ragged 
Bears. $9.95. 1-929-92750-9. 

New Yellow Digger Pop-up Board Book. By Steve Augarde. 
March. Ragged Bears. £8.99. 1-857-14258-6. 

Old Macdonald had a Farm: A Musical Pop-up. Rosanne 
Litzinger. Milbrook Press. $16.95. 0-7613-1726-0. 

Pinocchio: An Italian Pop-up Fairytale. By Francesca 
Crespi. London, Frances Lincoln. 6 pages. 0-71 1-21948-6. 

Pop- up Toddlerobics: Fun Action Rhymes. By Zita 
Newcome. Candlewick Press. $9.99.16 pages. 10 x 9. 

Treasure Planet: A Pop-up Adventure. Disney Books for 
Young Readers. $8.99. 12 pages. 0-736-42014-2. 

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